Review Round Up – Ghost Of The Machine, Dominic Sanderson, Human Pyramids, Michael Woodman & Dim Gray

Life has been a bit up and down recently and I have really struggled to keep Progradar up and running but we are still here, a not inconsiderable thanks has to go to John Wenlock-Smith for keeping the reviews running while I’ve been on a bit of a hiatus!

Anyway, 2025 started with some fantastic promos being sent so here are just a few of them, you’ll see why I think 2025 is going to be another stellar year for the music we all love!

Ghost Of The Machine‘Empires Must Fall’

‘Empires Must Fall’ is the hotly anticipated second album from Yorkshire-based progressive rock band Ghost Of The Machine, releasing on 7 March 2025 through ProgRock.com’s Essentials label.

Empires Must Fall maintains Ghost Of The Machine’s trademark anthemic hooks and beefy melodic rock production (once again courtesy of Leeds producer Bob Cooper) and it also explores “denser and darker arrangements that”—singer Bramald promises—will “scratch that ‘prog’ itch while striking a careful balance between shorter, more accessible songs and those epic-length pieces that we’re known for.”

The new album tells a continuation of the story that started with the ‘Scissors’ suite on the previous album. Bramald adds, “Our first record concluded with the tyrannical Puppet King being vanquished by his final victim… she slew him with a pair of scissors! So, we wondered what the consequences of that violent but liberating final act would be. We started with a simple question: what is true justice? Is the newly crowned Empress of the Light succeeding at being a benevolent ruler, or is she becoming a tyrant herself? Can she right all the wrongs that she herself had suffered? And what will it take to finally break the cycle of violence and coercion?”

God, these guys just keep getting better! There’s a confidence about Ghost Of The Machine that oozes from every track on this complete monster of an album. You’d be forgiven for thinking that the band had been together for decades, not just a handful of years. Powerful guitars and a wonderfully fluid rhythm section add to the elegant keyboards and Charlie Bramald’s superb, distinctive vocals to deliver a real tour de force of hard rock tinged progressive rock.

Keepers Of The Light opens the album with an energetic bravado that enthuses the listener and then The Days That Never Were adds some classic hard rock vibes to the album. The two epics, Panopticon and Fall Through Time, take this impressive band to yet another level. The former is a brooding monster of a track that ebbs and flows with a quiet assurance and maturity and speaks of a group of musicians on an ever upwards trajectory and working in an almost symbiotic relationship. The latter is a true progressive masterpiece that wouldn’t be amiss on a Genesis album. The haunting brilliance of The One is a highlight and the album closes with After The War, a modern progressive take on Dire StraitsBrothers In Arms to my ears.

‘Empires Must Fall’ is Ghost Of The Machine oozing class, skill and confidence to deliver a truly majestic musical experience that lingers long after the last note has ended.

Released 7th March, 2025.

Order the album here:

https://ghostofthemachineofficial.com/store

Dominic Sanderson‘Blazing Revelations

Dominic Sanderson is a 25-year-old Liverpool-based solo artist from Wakefield. He places his foot firmly in the progressive rock field, with current influences being Van der Graaf, King Crimson, Gentle Giant and Caravan. Having made his debut in 2020 with the ‘Discarded Memories’ EP (featured on the sampler CD of Prog Magazine #116), Sanderson released his first full-length album, ‘Impermanence’, in 2022.

‘Blazing Revelations’ was completed between January and November 2024. The album was recorded and mixed independently by Joshua Joyner in an abandoned radio station. With the snatches of time available to Sanderson and the band members, what with commitments to careers, families and social activities, ‘Blazing Revelations’ was a labour of love, slowly chipped at when time allowed. The mastering was completed by Jon Astley (The Who) at Close To The Edge Studios.

Once again, Dominic Sanderson has created something truly progressive. I was a big fan of ‘Impermanence’ and I think he has taken his skill set to another level. A masterful collection of songs that inspire and surprise at every turn. There’s touches of Canterbury, swathes of symphonic and, over all, a supreme confidence in the composition and delivery on every track of this superb release.

Dominic is obviously not one to rest on his laurels and ‘Blazing Revelations’ continues his quest to expand the progressive genre with thoughtful, intelligent and complex creations like the acid edged majesty of From The Weeping Cradle with it’s complex rhythms and the wistful, Canterbury stylings of Faithless Folly, a convoluted, labyrinthine piece of music that takes you on an other worldly adventure. Add in the acid folk leanings of A Rite Of Wrongs and we see Sanderson take an enjoyable trip into the wider sonic world.

The stand out track is the near seventeen minute journey into the unknown that is Lullaby For Broken Dream. There’s something utterly compelling about this song as it opens up like an Edgar Allan Poe story set to music with discordant jazz sections that really test his fellow musicians and edgy, contemporary prog that makes for an complex and intriguing listening experience. An utterly worthwhile expedition into the creative mind of one of British progressive rock’s rising stars. Crimson-esque guitars and swathes of 70’s keyboards abound on this stunning piece of music that will leave you breathless in admiration.

With ‘Blazing Revelations’, Sanderson has redefined what it is to be truly progressive in the modern musical world and I for one am eminently thankful that there are musicians out there who are still creating works of art like this.

Released 28th February, 2025.

Order from bandcamp here:

https://dominicsanderson.bandcamp.com/album/blazing-revelations

Human Pyramids‘Thank You’

Human Pyramids is a Cinematic, Orchestral Supergroup from Glasgow, Scotland.

Led by Composer/Producer Paul Russell, the new album features musicians from Axes, Suicide Bid, Scottish Ballet and Modern Studies.

Their 4th album ‘Thank You’ was recorded all over the UK and Europe. Luscious strings, rousing horns, shimmering guitars and bubbling synths. The album expands upon their trademark euphoric sound from the first 3 records which have soundtracked countless TV Shows, Documentaries and Films. The album was mastered by Alan Douches (Sufjan Stevens / Animal Collective) in New York State.

I’m a huge fan of Paul and Human Pyramids, the uplifting music is wonderful to listen to and transcends all the crap in modern life. With ‘Thank You’ Paul has carried on with his fantastic formula, delivering an experience that is sonically beautiful and joyously mesmerising.

Take strings, brass, amazing percussion and funky guitar and add in a touch of utter joy and you get something that will leave a permanent smile on your face. Listen to the audaciously wonderful Full Bloom, the staccato feather like innocence of Scattering Sunlight and the wholesome delight of Glow and tell me that I’m wrong!

This world that we live in can be a daunting and scary place so take some time out of your busy schedule and let Human Pyramids whisk you away to a world of musical wonder and delight!

Released 17th January, 2025.

Order from Banquet records here:

https://www.banquetrecords.com/human-pyramids/thank-you/TMT004

Michael Woodman‘Hiss Of Today’

Thumpermonkey’s guitarist/vocalist Michael Woodman returns with his first full-length solo album, slated for release on 26/04/2025.  ‘Hiss of Today’ entangles restless analogue-synth entities with lo-fi motorik percussion; part 60s baroque chamber pop, part Vangelis, part Thelemic ritual viewed through a broken kaleidoscope. Label owner and Gong frontman Kavus Torabi (whom Woodman toured with after the release of his debut EP, ‘Psithurism’) also gifts his unmistakable spectral psychedelia to the single, Lychgate. The album’s inspiration comes from an uncanny discovery: William Robert Woodman, one of the founding members of the Hermetic Order of the Golden Dawn, not only shared Michael’s surname but also died on the same date as Michael’s birthday. ‘Hiss of Today’ is equal parts nostalgic hauntology, tales of cursed ZX Spectrum tapes, and hallucinated 8-bit lore – expanded upon through a pre-release text adventure that fans can access from February 2025.

Photo credit Ashley Jones.

I was one of the first to hear ‘Psithurism‘ and was intrigued by Michael’s complex and intriguing music and he has returned with a full length release that improves on the promise of that EP to deliver a thought provoking and beguiling collection of songs that captivates the listener with its compelling stories impressive musicianship. Haunting and moody on tracks like The Wandering Nerve, the musical equivalent of scratching your finger nails down a blackboard and bombastic and theatrical on my personal favourite, The Button, a track that harks back to 90’s hard rock band Incubus to my ears. It is a journey through a feverish but calculating mind and one that produces something daringly different.

There’s nothing else quite like ‘Hiss Of Today’, with touches of Gong and Cardiacs in places, mingling with the cerebral style prog of Van der Graaf Generator and King Crimson, Michael Woodman has created a kaleidoscope of musical magnificence.

Released April 26th, 2025.

Order from bandcamp here:

https://michaelwoodman.bandcamp.com/album/hiss-of-today

Dim Gray‘Shards’

Dim Gray are a Norwegian band known for their cinematic, atmospheric sound that fuses rock, folk, and chamber pop. Following acclaimed debut, ‘Flown’, and the expansive, evocative soundscapes of second album, ‘Firmament’, Dim Gray are set to release their third studio album, Shards, on February 28th, 2025 on Grim Day Records. 

Formed by Håkon Høiberg (guitars, vocals), Tom Ian Klungland (drums), Oskar Holldorff (vocals, keys) and former member Robin Kirknes (bass), the band added new members Kristian Kvaksrud (bass) and Milad Amouzegar (guitar, keys) in 2023. The band have established a strong live presence, as per their recent live EP, and have captivated audiences while supporting renowned acts like Marillion and Big Big Train.
 
Oskar adds, “Seven of the songs on Shards are about change, upheaval, severance; something shattering to pieces. Although most of these songs are sad or dramatic, some have a tinge of hopefulness to them, as sometimes the pieces of something shattered can be rearranged in different and better ways. These seven songs are bookended by two songs that deal with the opposite; a constant stasis, an unending struggle of two opposing kinds that are reflections of our personalities.”
 

With the breadth and ambition of the Shards album, Dim Gray are making good on not only what has come before but also setting their sights on, despite their name, a very bright future.

I’ve been on the Dim Gray journey since the start and this Norwegian band just get better and better with every album they release.

They have a very distinctive sound and this has coalesced into a more easily accessible and open set of songs on ‘Shards’. From the very first note of Defiance you are drawn into a musical cornucopia of wonder and delight. Jingling guitars, haunting piano and the distinctive, fluent vocals are hallmarks of this wonderful band’s very unique sound. The soaring choruses and dynamic strings add yet another dimension to the music and this can be heard to fantastic effect on the delightful Myopia.

Dim Gray are described as ‘evoking a blend of Radiohead’s experimental edge and Fleet Foxes’ pastoral warmth’ but, to my ears anyway, their sound has evolved to be very like the much loved Danish band, Mew, who are sadly playing their last two shows this year before disbanding. With driving, energetic songs like Murals with its superb folk style guitar, Dim Gray can forge a new path for themselves and create their own niche. The warmth and heartfelt passion of Feathers and Mooneater create a stylish juxtaposition with the wonderful Scandi pop/prog of the vibrant first single from the album, Peril, like A-ha brought bang up to date for present times, it’s uplifting, energetic and just brilliant!

Mesmerising and ethereal, Little One and Shards From a Broken Crown are perfect musical gems like atmospheric, euphonic ripples in a sonic lake but the best is saved until last with the ten minute odyssey that is Attakulla. A brooding opening gives way to Dim Gray at their magical best. Gorgeous harmonies and simply superb musicianship create an atmosphere of utter wonder that transcends mere mortality and finishes this musical creation on an incredible high.

‘Shards’ is a band operating on a higher plain. Widescreen cinematic music full of heart and soul, Dim Gray have given us the highlight of 2025 so far and it will take something quite remarkable to top it.

Released 28th February, 2025.

Order the album here:

https://linktr.ee/dimgraymusic

Review – The Round Window – Fram – by John Wenlock-Smith

One of the best things about last year for me was getting out to go to more gigs than usual, several of these being in quite distant places for me. These included a couple of Sunday afternoon shows in Camden, another was in Reading and yet another was in Colchester, where I was fortunate enough to witness the first ever live performance from Essex based The Round Window, who were supporting the ever impressive EBB in a show at the Three Wise Monkeys public house.

This was a very interesting trip for me as Colchester is nearly 200 miles and several trains from Cheshire! Nonetheless, it was a trip I felt compelled to make as I had been utterly smitten by their second album ‘Everywhere And Nowhere’ which editor Martin Hutchinson had reviewed and raved about on this very site.

Which bring us in a very meandering manner to this latest release from The Round Window, the EP ‘Fram’, which is not long enough for an album but certainly strong enough to be a stand alone release. It contains a mere three tracks, however, when the tracks are as imaginative and varied as these then you are getting some real quality music that works well as both an introduction to the band and also marks a moment in their development as the band move forward to being more active and present in the current progressive rock scene.

The three songs, The Silence, Fram and the epic sounding Hourglass are performed by the three Lock’s, Richard on vocals, Thomas on Keyboards and Jack on drums. They are very ably assisted by Robin Armstrong of Cosmagraf who adds some impressive guitar to Fram and bass on The Silence, along with Gareth Cole who adds his multi-faceted guitar tones to Hourglass. In Addition, Per Malmberg adds his guitar to The Silence. The EP is also produced by Robin Armstrong via his Gravity Dreams label.

This EP works extremely well in offering a concise snapshot of a band who have upped their game significantly with new material that draws on what they have done previously and yet have somehow managed to move several steps further on in terms of their overall confidence and also in their visibility in the current scene. What has helped in this is their constant self-examination of who they are and this EP distils their hopes and dreams into just three songs that offer another side to the band with thoughtful and intelligent themes delivered with style and grace.

First (and longest track) The Silence is a song written from the viewpoint of a soldier in the First World War who is remembering past seasonal festivities at home with his family, something he is hoping can happen once more when the madness is over. The song begins with a somewhat sombre and atmospheric soundscape  which is very cinematic in tone before a beat is picked up with bass and drums. A strong vocal from Richard commences with the soldier’s memories and his strong wish to be home. The song paints a wonderful picture of family life that has been interrupted by events, at which point the song changes into a darker mood. A guitar break follows before more sombre words are voiced and we can tell that things have altered somewhat for the soldier as he tells his sister that all is not as he had previously communicated. He did it to keep his hopes alive but now they have been dashed. The song ends with sounds of a family gathering and it is a very moving track all told.

Fram tells the story of Fridtjof Nansen, a Norwegian Explorer who sailed in the ship Fram on an unsuccessful expedition to the North Pole in 1894. Despite his failure, he was hailed as a hero on his return. The song explores his thoughts and feelings on his failure and the subsequent success of Roald Amundsen in 1911 in the very same vessel, Fram. This track is very introspective and resigned in tone, not victorious in any way and has some great and very fluid guitar lines woven throughout.

Hourglass is another somewhat introspective and inward-looking piece, although it concerns itself with looking into the future at the end of another year and hoping it will be a better one that lies ahead. It is a reflection on the passage of time as well and is another superbly composed and delivered piece of cinematic progressive music.

This is a very satisfying, impressive release from The Round Window and bodes well for their next album. I consider myself lucky enough to have caught their first show and hope to see them again soon.

Released 29th November, 2024.

Order from bandcamp here:

https://theroundwindow.bandcamp.com/album/fram

Review – Kite Parade – Disparity – by John Wenlock-Smith

I’ve had ‘Disparity’ for a while now and have only just begun to fully appreciate its subtle elegance and beauty. Andy Foster and Kite Parade have created a very modern progressive rock album of strong songs and observations of modern life.

The album begins with the track Fraternal Angels, which is very upbeat, starting out with synth soundscapes and piano before the vocals kick in with a surging drive. The song is very wide open in sound and is an excellent opener to all that is to follow afterwards. The mid section of the track is very interesting as it details the state of the world and it’s inequalities, 20% of the world having 80% of its wealth and resources. The brief Open Your Heart calls for a fair redistribution of the world’s food supplies and wealth and to be fairer to everyone. Is This All There Is ? features Christina Booth of Magenta who challenges us to do and to be more as there is more to life than what we see and experienceT he delivery of this great song is excellent. The World Is Mine is from the view of one who is in the top tier of wealth and is still not satisfied with everything,

Lynsey Ward of Exploring Birdsong is the vocalist for Broken, which has a delicate piano and some great synth sounds among its shuffling melody. The introduction of Andy Foster’s excellent saxophone solo really adds to the dynamics along with some great slide type guitar sounds towards the end. There are great dynamics between the rhythm section of Jimmy Pellagrosi (drums) and Marcin Palider (bass) with Andy laying down a great guitar line on top. This segues into Forgotten Youth, which has a chunky riff and sound to it. This is another up-tempo song with very interesting lyrics. Also worth mentioning is the terrific sound that the album possesses and that comes courtesy of Rob Aubrey, the sound being excellent and clear with great dynamics. It sounds really good to these ears, modern with a great drive and urgency when required. I also like how the songs flow into each other, creating a continuous sound cycle which captures the attention. The song has an excellent outro that is very impressive and imaginative. The use of textures and colouring make this song very grand sounding and my favourite thus far on what is a very majestic album.

Is There Hope? is a prelude to the epic Make It Beautiful which begins with thunderous bass from Marcin which sets a strident tone for the song. The track has a great refrain that is very memorable indeed. This is a great piece of music, very hopeful and optimistic in nature, which is no bad thing! It is a plea to restore beauty to an increasingly ugly world. Yes, it might be a bit hippyish and unrealistic but one can hope that beautiful actions can happen and bring the beauty back for everyone to appreciate. All this leads into the final track, Listen To The Angels, another optimistic and hopeful song. Andy Foster might be a dreamer but he wants a better world and hopes that it will happen and, in these troubled times in which we currently live, surely that’s not a bad way to be. I for one applaud his efforts and share his hopes for a fairer future.

‘Disparity’ is a really strong album with much to commend and has some brilliant performances. It bodes very well for the future of Kite Parade, let’s us hope that it’s not too long before we see them in action once again, as they are at the vanguard of a growing wave of melodic and worthy progressive rock music.

I highly recommend this tremendous album to you all. As for me, I am going back to check out their earlier albums, ‘The Way Home’ and ‘Retro’ as they passed me by, so the time is right for me to get acquainted with them.

Released 4th October, 2024.

Order from bandcamp here:

https://kiteparade.bandcamp.com/album/disparity

UK Progressive Rock group Solstice announce 8th studio album, Clann, due on April 4th, 2025.

Voted Best Band in Prog magazine’s latest annual Reader’s Poll.

Solstice are pleased to announce the release of their 8th studio album, Clann, on  April 4th, 2025 through specialist US label Progrock.com Essentials.

Voted Best Band in Prog magazine’s latest annual Reader’s Poll, and arriving on an exuberant wave of positivity created by previous albums Sia (2020) and Light Up (2022), both widely acclaimed within the prog community and beyond, Clann completes the most recent phase of Solstice’s 40-plus year career. As band founder, composer, and guitarist (winner of Prog magazine’s most recent Best Guitarist Prog Award) Andy Glass explains, “[Sia] made me realize the potential and by the time we were working on Light Up the whole band had raised its game. I believed then that a trilogy of albums was what it would take to create our best work and track that journey. Clann is the final album in the Sia Trilogy and it’s everything I’d hoped it would be. Let’s hope the universe likes it too.”

As Solstice keyboardist Steven McDaniel laughingly confesses “It’s terrifying to be in a band this good!” Boasting the same line-up since 2020, the members of Solstice channel their impressive individual talents to create music that melds elements of hi-intensity prog-folk, soaring new age, fragile ambiance, fresh funky pop-rock with world music leanings, and fist-pumping heavy rock jubilance, demonstrating a sophisticated, multifaceted modernity while retaining transcendent timeless qualities. A lauded singer-songwriter in her own right, Ebony Buckle, backing vocalist and now solid member of the Solstice family, reflects, “I love how these new songs feel like they’ve always existed.”

Enjoying both an artistic and commercial rebirth over the past 5 years, Solstice owe much to the addition of young singer Jess Holland in 2020, who brought with her not just a clear emotive voice that communicates both stridency and tenderness with equal ease and charm, but a beguiling energy that has directly impacted everyone in the band. As Andy Glass is eager to explain “Sia was our first album with Jess and what a total game changer that was. I’ve felt incredibly motivated and inspired ever since. Since then I seem to have this relentless appetite to take this music as far as we can. There’s nothing quite like feeling that kind of drive.”

Recorded both in a variety of recording studios and by individual band members at home, Clann includes a first in the band’s career with the track Plunk which features a brass section recorded at the beautiful Grand Chapel Studio in Toddington, Bedfordshire. Glass admits that “there might be a bit of a Big Big Train influence there somewhere!”

Clann manages to cover a great deal of musical ground in its nearly 40-minute running time. Firefly opens up proceedings and will be familiar to many already through its airing at numerous gigs and its inclusion on both the band’s Live At The Stables and Return To Cropredy releases. Its pulse-pumping energy, hard-edged yet infectious grooves, whirling bursts of synth and violin and its glorious guitar solo lift the spirit and sweep us into Solstice’s mesmerizing world. Elsewhere Life delivers smooth, soulful, modern pop with an elegant dance-friendly heart and Plunk is taut swaggering funk in 7/8 with brass stabs and a left-field, gritty guitar solo. Frippa is built on an urgent, bluesy Crimson-esque riff in 5 and spotlights organ, violin and even more incendiary guitar. Final track, the 14-minute Twin Peaks, in some ways harks back to what prog polymath and longtime Solstice fan Steven Wilson once described as the band’s “spacey and spacious” early material – it’s gentle, reflective and airy with pastoral, folky strains, yet builds into a soaring expression of rapturous celebration and spiritual freedom. 

Lyrically, the album continues established Solstice themes of love, joy, peace, harmony and acceptance, yet Clann admits that not everything in the garden is always rosy. Although longing for some ultimate redemption, both Plunk and Frippa feature a level of reproach for unidentified liars and cheats with Plunkeven exercising some wry schadenfreude at the downfall of the song’s antagonist.

Check out the video for the first single “Firefly” here:

Solstice will be supporting the release of Clann with a strings of live dates including festival appearances in the UK, Europe and north America. The band’s live work has been fundamental to their growing popularity with a wide audience demographic. Always more than just a magical musical experience, the band’s gigs are consistently celebratory, invigorating, warm hearted and a lot of fun. The live work has fed directly into Andy Glass’s writing – “One of the joys of this beautiful band is the energy on stage… and that’s definitely played into the writing for this album. I only need to think about the gigs to imagine the possibilities and for the ideas to start forming.”

Pre-order ‘Clann’ here:
CD: https://essentials.progrock.com/product/solstice-clann/

Colored Vinyl: https://fairsound.com/product/solstice-clann-rusty-red/

Black Vinyl: https://fairsound.com/product/solstice-clann-black/

Clann Track List
1.Firefly
2.Life
3.Plunk
4.Frippa
5.Twin Peaks

All songs written by Andy Glass

Solstice line-up
Andy Glass – Guitars, backing vocals
Jenny Newman – Violin
Pete Hemsley – Drums
Jess Holland – Lead vocals
Robin Phillips – Bass
Steven McDaniel – Keyboards
Ebony Buckle – Backing vocals
Dyane Crutcher – Backing vocals

Formed in Aylesbury, UK, Solstice played their first gig at Berkhamsted Town Hall in early 1980. Although very much considered part of the early 80s British neo-prog movement, sharing stages with the likes of Marillion, IQ and Pallas, Solstice drew more on folk, folk-rock, neo-classical and psychedelic space-rock than most of their contemporaries. The band gained a small legion of devoted fans touring extensively, playing many notable venues such as The Marquee in London and The Friars in Aylesbury as well as at the prestigious Reading Festival in 1983. Although releasing self-financed cassette demos during this period, they didn’t record their debut studio album until 1984’s Silent Dance, before this chapter of the band’s career came to an end with Solstice splitting up in 1985. Over the next 20 years Solstice had long periods of inactivity peppered with one-off reunions, brief reformations and two further studio albums, New Life (1993) and Circles (1997), the latter featuring Clive Bunker from Jethro Tull on drums. The pressures of line-up instability, family life, other musical projects and the imperative of making a living proving more of a priority than keeping this particular band going.

With their re-mastered back-catalogue issued in 2007, Solstice enjoyed something of a renaissance, appearing live more frequently and going on to record a further two albums – Spirit in 2010 and 2013’s Prophecy. However, although the albums were well-received and a core fan-base persisted, there remained a sense that the band was treading water rather than moving forward in any meaningful way. Then, somewhat unexpectedly, everything changed in 2019 when Andy Glass, founder and sole surviving original band member decided he really wanted to record one more album. Looking at who might front the band, they settled on young singer and musician Jess Holland. This decision transformed the band’s fortunes in ways they could hardly have imagined. Prog magazine journalist Martin Kielty summed up the feelings of many when he opined that this led to “Solstice becoming the band they were always meant to be”.

With new album Clann set to complete a trilogy of albums begun with 2020’s Sia, Solstice have been busier over the last three years then they probably have been for the last couple of decades, playing numerous shows including high profile festival appearances at Glastonbury, Cropredy and Milan. Enjoying a level of acclaim and critical praise that surprises even the band themselves, Andy Glass almost has to pinch himself – “Suddenly there’s this out-pouring of creativity. We’re making music that’s as good as [anything] I’ve ever been involved in making. And people are responding to it. It’s absolutely extraordinary… I mean surprise doesn’t cover it. I never saw anything like this coming… and it feels incredible. It’s what’s driving me now having never been ambitious in the past.”

New Release Round Up – Glass Hammer, IQ, Bjørn Riis, Oak

Due to some technical issues, we’ve been offline for a while but we are back with four fabulous new releases from Glass Hammer, IQ, Bjørn Riis and Oak. So, without any further ado, let’s dig in!

Glass Hammer‘Rogue

GLASS HAMMER GOES ROGUE WITH April 11th RELEASE

Glass Hammer’s “Rogue” spins the tale of one man’s fateful, final journey. “He leaves everything he knows behind,” explains composer Steve Babb. “And thinks he’s returning to a place where he once knew happiness, but in reality, his odyssey will sweep him away to somewhere completely unexpected.” 

Babb explains that the ten-song album explores themes of regret, heartache, and the mortal salience that comes with age. “Life is fleeting,” he continues. “It’s a heavy topic for an album, but the music isn’t as heavy as our last few releases. Rogue is much more like the Glass Hammer albums our fans refer to as “classic.”    

And who’s in the lineup? “It’s no secret that Glass Hammer reinvents itself every few albums,” says Babb. “It’s happened again! This time with a lot of new faces.”

Rogue features performances by Fred Schendel, Reese Boyd, and David Wallimann (GH guitarist 2006-2010). Vocalists Thomas Jakob (Netherlands) and Olivia Tharpe (USA) are new to the band. They’re joined by guitarist Oliver Day (UK), keyboardist Ariel Perchuck (Argentina), drummer Evgeni Obruchkov (Poland), and others. “It’s an international cast of characters,” Babb points out. “A super-talented group that our fans are sure to love.”

The hour-long Rogue is Glass Hammer’s twenty-second studio album. Fans can pre-order autographed copies, t-shirts and downloads on the band’s website:

https://glasshammer.com

Steve Babb photo credit: Julie Babb

Track list:

1.     What If

2.     The Road South 

3.     Tomorrow

4.     Pretty Ghost 

5.     Sunshine

6.     I Will Follow

7.     The Wonder Of It All

8.     One Last Sunrise 

9.     Terminal Lucidity

10.  All Good Things

IQ – ‘Dominion’

GEP recently announced the release of Dominion, the long-awaited new album from IQ, the first new music in 6 years following-up 2019’s Resistance. Dominion will be released on March 28th, 2025.

Today, the band have released the video for the first single titled “No Dominion” which you can see here:

Peter Nicholls“Hot on the heels of Resistance’ six years ago! Yes, it’s been a long time coming (we couldn’t be accused of rushing these things!) but we’re confident this album is really strong and has been worth the wait. To be releasing a new IQ album in our 44th year feels genuinely exciting”. 

Mike Holmes“We did actually write a lot more material for Dominion, but this choice of songs (and the running order) feels like a cohesive album to me. Even in this age of streaming individual songs I still approach a new album with a ‘side one’ and ‘side two’ thing in my head and the selection and placement of songs for Dominion just feels like a classic album should (I know, I’m using ‘old people’ speak!). “The original intention was to have a second disc of other material but that would have taken a lot longer to put together and we figured six years was quite enough. It does mean that there’s already quite a bit of stuff ready for the next one.” 

Dominion will be available in a six panel digi-sleeve CD with 16-page booklet and a one-disc coloured vinyl album in a gatefold sleeve. 

Pre-orders for the album will begin on Feb 17th, 2025 via the band’s website:

https://www.iq-hq.co.uk

Bjørn Riis‘Fimbulvinter’

Bjørn Riis is among Norway’s most acclaimed and prolific artists in the progressive rock genre. As a songwriter, multi-instrumentalist and producer, he’s transitioned from learning his trade in obscure cover bands to having worldwide success both as a forming member of Airbag and as a solo artist.
 
This spring, Bjørn follows up his highly acclaimed ‘Everything to Everyone’ (“This fantastic musician’s best work!” – Progradar UK), with a new album, ‘Fimbulvinter’ on the 11th of April.
 
To whet the appetite of his fans, the track Gone has been chosen as a single and Bjørn has this to say about it:
 
“”Gone” was the first track I wrote for the album. It’s one of those songs you just want to play loud in your car going fast on the highway! I wanted it to have that pop and monumental feel to it, while dealing with a somewhat serious matter. It’s about the fear of not being enough, of being rejected and dealing with that by wanting to escape and flee. I’m playing all of the instruments, with Kai Christoffersen on drums and my long-time collaborator, Vegard Kleftås Sleipnes, mixing and co- producing.”

Gone can be streamed or downloaded from the following link:

https://orcd.co/bjornriis-gone

‘Fimbulvinter’ is a personal album, based on Bjørn’s own experience dealing with anxiety. The lyrics are profoundly honest and emotional, describing utter hopelessness, paranoia and despair yet a hope and gratitude. Riis says:
 
“It’s not an autobiographical album but I wanted to share some of my own experience and write about a topic that I think is very important. Mental health is something everyone is dealing with in one form or another, in different periods of life. It’s something we all can relate to but it’s still somewhat of a tabu. The music is possibly the heaviest I’ve written. There’s some really powerful stuff, with guitars and drums, but there are also beautiful and evocative moments that adds a strong contrast and diversity.”
 
The title, ‘Fimbulvinter’, refers to Norse mythology and the tale of the long winter that leads up to Ragnarok – the end of the world and a new beginning.
 
Fimbulvinter feature Bjørn on all instruments and vocals, with contributions from Airbag’s Henrik Bergan Fossum (drums), Arild Brøter from Pymlico (drums) and Kai Christoffersen.
 
Once again, Bjørn has teamed up with long-time collaborator Vegard Kleftås Sleipnes, who co- produced, mixed and mastered the album.
 
Tracklisting for ‘Fimbulvinter’ is as follows:

1. Illhug
2. Gone
3. Panic Attack
4. She
5. Fimbulvinter
6. Fear of Abandoned
 
‘Fimbulvinter’ will be available CD, Digipak, Digital and Black Vinyl LP and Coloured Vinyl LP formats, and can now be pre-ordered at:

And bandcamp here:

https://bjornriis.bandcamp.com

Oak‘The Third Sleep’

With their highly anticipated fourth album, ‘The Third Sleep’, Norwegian progressive rock band OAK delivers a striking exploration of societal complacency and the struggle of the individual. The album contrasts light and darkness, both thematically and musically, seamlessly blending folk-inspired acoustic passages with the raw intensity of progressive metal, evoking echoes of Opeth and beyond.

On the 25th of April, OAK follows up their highly acclaimed ‘The Quiet Rebellion of Compromise’ with a new album, ‘The Third Sleep’.

About the album, the band has this to say:

“The Third Sleep continues the development from TQROC lyrically and further descends into the darkness of the mind errands. The form is suggestive and poetic, with room for interpretation within certain limits. The album is also more outgoing than its more introspective predecessor, with socially critical lyrics that require the listener’s attention and an ability to read between the lines.”

With a rich musical foundation that spans classical piano, electronica, progressive and hard rock, Oak has carved out a distinctive sound—both captivating and challenging in equal measure.

Recorded in Ljugekroken (Oslo), the album was mixed by David Castillo (Katatonia, Leprous, Opeth) and mastered by Jacob Holm-Lupo (White Willow, Donner) at Dude Ranch Studio, Sandøya.

Prepare to experience “The Third Sleep”, a thought-provoking journey through sound and emotion.

Tracklisting for “The Third Sleep” is as follows:

1. No Such Thing
2. London
3. Run Into the Sun
4. Shimmer
5. Shapeshifter
6. Borders
7. Sensory Overload

“The Third Sleep” will be available CD, Digital and Blue/Purple Smash Vinyl LP formats, and can now be pre-ordered at:

https://www.karismarecords.no/kar288-oak-the-third-sleep

and bandcamp:

https://oakinoslo.bandcamp.com/album/the-third-sleep

OAK originated as a duo, which expanded into today’s line-up of Simen Valldal Johannessen on vocals, piano and keys, Øystein Sootholtet on bass, acoustic and electric guitars and Sigbjørn Reiakvam on drums, percussion, programming, keys and guitars. The fact that OAK’s members come from diverse backgrounds, which range from classical piano, to electronica, to prog and hard rock, with references to both the alternative scene as well as the progressive rock scene, has allowed OAK to create a unique sound.

Review – Geof Whiteley Project – Paper Tiger

‘The Geof Whitely Project was formed in 2011, it consists of Geof Whitely and special guest Musicians, the aim of the project is to put out original material in all types of musical formats from Prog Rock-Rock-Pop-Electronic-Instrumental.’

So days the information on the bandcamp page but the Geof Whitely Project is much more than that, it is the brainchild and labour of love of prolific musician Arny Wheatley and is a true progressive vision. Arny releases a lot of albums and there are no massive leaps forward with each one but a steady progression of musical styles and delivery so that, while each are distinctively a GWP album, no two are the same.

This latest release, ‘Paper Tiger’ continues in a similar vein with more depth and further maturity to each track on the album. The opening two songs, Cut Against The Grain and Under The Waves are both a case in point. Like every song that the Geof Whiteley project has released, they are linked by Arny’s distinctive, monotone vocal delivery, a link back to the very first album released, but the music has added layers of sophistication and depth that delivers a very impressive sound. The edgy, synth driven Made A Promise has a funky 80’s feel to it and On The West Bank is an emotive, touching lament to a seemingly never ending conflict. The Prisoner is the Geof Whiteley Project distilled into seven minutes of excellent, hypnotic music with Arny’s vocal drawing you in to his surreal world.

There is a dark, mysterious edge to An Uneasy Presence, a track that has a real Hammer Horror feel to it, it’s deliciously enigmatic and my personal favourite, Force Of The Someone, takes an 80’s Genesis vibe and runs with it to perfection. Fans of antipodean prog band Unitopia will hear touches of that outfit in the light and airy wonder of Cracked Eyes with its masterful keyboards and synths and the laid back but very serious grooves of Vulnerable Species. The album closes with the solemn and haunting I’ve Seen A World, a very impressive piece of music with highly meaningful lyrics, mirrored by the wonderful music.

‘Paper Tiger’ is the Geof Whiteley Project’s most accomplished release yet, an album of intelligent songs that is a plea to the world and a hope that it is not already too late. Well done Arny my friend, you have truly delivered your Magnum Opus and what a wonder it is.

Released 8th January, 2025.

Order from bandcamp here:

https://geofwhitelyproject.bandcamp.com/album/paper-tiger-album

Review – Bill Bruford – The Best of Bill Bruford – The Winterfold & Summerfold Years – by John Wenlock-Smith

This is a 3 CD box set containing 35 tracks of Bill Bruford’s original music made for his own Winterfold (for his more electric driven music) and Summerfold (for his more acoustic and more improvised ideas) labels. This set is an expanded version of a set originally released in 2006 and long out of print and has been totally redesigned and reimagined for today with new artwork and sleeve notes and offering a concise overview of Bill’s career since 1977.

Unlike his earlier set, ‘Making A Song & Dance’ of 2022, this set only focuses on his own material, so nothing from Yes, U.K. or King Crimson. I feel this actually helps you recognise just how excellent Bill’s work over the past 40 years has been. The fact that Bill “retired” from music in 2009 to focus on more academic pursuits makes this collection all the more relevant now, with a semi return to activities with the Pete Roth Trio with whom he is currently active.

This collection covers those 42 years from his Bruford days through his collaborations with Patrick Moraz and Michiel Borstlap and covers 18 albums from which this set has been entirely re-designed by Bruford’s long-standing associate designer- photographer Dave McKean and overseen personally by Bill himself. The range of styles encompassed is significant from the more fusion driven sound of Bruford the band, the improvisation of Moraz and Bruford and Borstlap and Bruford to the free form jazz expression of the various incarnations of Earthworks. The list of contributors is lengthy and varied but, above it all, is the precise timekeeping of Bill Bruford holding everything together in a well ordered fashion.

Beginning with Bruford, the band Bill started after leaving U.K. in 1977, we get 4 tracks from ‘Feels Good To Me’, two apiece from ‘One Of A Kind’ and ‘Gradually Going Tornado’ and just one from ‘The Bruford Tapes’. For me, this particular period of Bill’s musical journey is one I was aware of but had not actually heard for myself. Obviously a situation I now need to rectify ASAP,  as are the albums made with Patrick Moraz, which also warrant further investigation.

So it is really the Earthworks era that this review will concentrate upon, an era that is all instrumental jazz, mainly propelled by Bill on acoustic rather than electric drums, although it did introduce the concept of chordal drums (A hybrid of half keyboard and half drums) which afforded Bill a new dimension in which to explore new rhythmic possibilities and sensibilities, which he does to stunning effect on both Pilgrim’s Way and Stromboli Kicks, which both feature this style of playing. Bill’s playing uses a random collage of micro percussion taken from 82 samples of little blocks, bells, finger samples and others all played live in the context of the track. This is certainly unusual and somehow sounds intriguing and very impressive. The sound is most definitely unusual but an effective marriage of both chordal and electronic drums.

We then have a couple of tracks from the David Torn produced ‘All Heaven Breaks Loose’, which features the processed sound of Iain Bellamy’s tenor horn. This was Earthworks really throwing away any rulebook and improvising freely and to fine effect. Again we hear Bill’s masterful stewardship and timekeeping even with free improvisation. Both Temple Of The Winds and Candles Still Flicker In Romania’s Dark benefit from this freedom. Nerve from ‘Stamping Ground’ follows and here we find Earthworks in full on improvisation mode again to fine effect. This is exciting and unrestrained stuff, albeit tempered with the tight controls of Bill’s timekeeping and vision. This is followed by the simply gorgeous acoustic beauty of two tracks from ‘If Summer Had It’s Ghosts’ in the form of the title track and Thistledown, both very gentle, quietly melodious and beautiful, another one to search out for myself I feel. The disc ends with 2 tracks from ‘Apart And Yet Again’ which saw the introduction of Earthworks mark II, which was more acoustically propelled with a new cast of musicians to push Bill’s envelope, as it were.

CD3 continues the Earthworks journey, apart from a few tracks from the collaboration with Dutch keyboardist Michiel Borstlap, in which the duo play completely spontaneously without any prearrangements. This makes for some very interesting music in which both musicians really listen to each other and respond accordingly. It is very exciting stuff as you hear their interactions play out, this would fool most people as there is no road map for where the music goes, it is all brilliantly intuitive. A sole track from ‘A Coat Of Many Colours’ sees Bill in connection with fellow drummer Chad Wackerman and Luis Conte on congas, focusing on the pitch of the various drums in a unique sounding track. The remaining tracks show Earthworks mostly in live performances from various different concerts

Above all this set accentuates the sheer brilliance and dedication to his craft that marks Bill Bruford to be a doctor of rhythm and rightfully so too as his work on these discs encompasses a huge array of both styles and settings. This is not always a straightforward listen as you need to get into the groove and begin to appreciate the subtleties on offer within these tracks but it is definitely worth it as there is very much to enjoy and appreciate herein.

Released 18th October, 2024.

Order from Cherry Red Records here:

https://www.cherryred.co.uk/bill-bruford-the-best-of-bill-bruford-the-winterfold-summerfold-years-3cd-box-set

Review – Cyan – The Guardians – by John Wenlock-Smith

The Cyan release, ‘The Guardians’, comprises a mere three tracks, namely The Guardians Of Your Destiny, a 26 minute epic that has been resurrected from Cyan’s reimagining of the original 1994 album, reworked and extended from its original 12 minute run time with new parts and solo’s from all and sundry, All Around The World, that was used as the Progaid single in 2005 and there’s also an instrumental entitled Cyan. Both the first two tracks were on the original album ‘Pictures From The Other Side’, however, due to excessive running length and so as not to distract from what they had already worked on and re-recorded, they were left off.

The whole EP lasts for approximately 38 minutes in all and, whilst not a full album, it certainly is a hefty slice of Cyan music to savour and enjoy. Once again, the band comprises of Robert Reed on keyboards, Dan Nelson on bass, Peter Jones on vocals and various wind instruments and the guitar work comes from Luke Machin who never fails to impress with his fleet fingered flights of delight. They are also joined by the angelic voice of Angharad Brinn, whose ethereal vocals are highly impressive sounding and work well in tandem with Peter Jones.

The EP starts with the epic The Guardians Of Your Destiny. This begins with Angharad’s voice soaring over a wash of keyboard sounds and some muted percussion before Luke Machin lets fly with a soaring guitar line which is then superseded by Rob’s organ sounds. Luke takes over once again before Peter Jones sings the opening verse. As an opening section this is pretty epic with lots happening and it all sounds wonderful too. This leads to delicate short acoustic guitar section before Rob allows his keyboards free rein in an explosive set of runs. There is then a part with dual vocals from Peter and Angharad that shows the beauty of their two voices. A brief but soaring guitar solo from Luke intercedes before we return to more duo vocals and acoustic guitar interludes, along with a glorious synth solo from Rob and guitar break from Luke.

Rob’s organ sounds return before Angharad sings the refrain We Are The Mighty Ones that occurs at several points during the song, acting as a way marker in moving the song along and holding the sections together as one complete piece. The sounds are very Genesis like in tone and I feel it gives a point of reference in Rob’s musical development and plays as a tribute to the mastery of Tony Banks. The song draws towards it conclusion with another Luke Machin solo and more keyboard solo’s from Rob. Mention must also be made of the stellar Bass work from Dan Nelson who is there at every turn adding depth and Solidity. The track ends in a triumphant burst of impassioned vocals from Peter Jones before a return to the chorus of We Are The Mighty Ones and a final guitar fill from Luke.

All Around The World is a pretty straightforward listen that has more epic guitar from Luke Machin, who never fails to impress with his fluid playing. I’ve known Luke for over 15 years and have seen his confidence and abilities grow over that time and he always plays what is needed at the time. He is one of prog’s most versatile players, as his soon to be released solo album will invariably attest. The song then enters a longer keyboard part to finish. This excellent EP finishes with he instrumental track Cyan, which is really 2 instrumentals they used to play in the 1980’s that have been fused together with a few new parts added. This gives room for all to take their turn in the spotlight with Luke, Rob and Peter all taking the spotlight, Peter by means of his saxophone, Luke with his guitar and Rob embellishing everything with his sensitive and keen keyboard solos, sounds and textures.

Whilst this may be a shorter EP, it certainly is not without its merits and is a joy to hear these musicians cutting loose as they do in Cyan. ‘The Guardians’ is an excellent addition to the Cyan canon and will fit well alongside ‘Pictures From The Other Side’ to complete the full picture that album represents.

Released 16th August, 2024.

Order the CD here:

https://www.tigermothshop.co.uk/store/Cyan-The-Guardians-CD-pre-order-p674509462

FROST* launch stand-alone single ‘Western Atmosphere’ 

UK Progressive Rock group Frost* is pleased to share a new stand-alone single titled “Western Atmosphere.” This song was originally featured as a Japanese-only bonus track on the album ‘Life in the Wires,’ and sees band leader Jem Godfrey joined by Randy McStine (Steven Wilson, Porcupine Tree – live guitarist), Mike Keneally (Devin Townsend) & Nick D’Virgilio (Big Big Train).

Godfrey says this about the track: “I sometimes wonder what would have happened had I stayed in bed 10 minutes longer than I did on Monday 11th of January 2010. Perhaps my life would have gone in a completely different direction and Frost* would have ended up with the lineup of myself on keys, vocals and bass, Mike Keneally on guitar, Nick D’Virgilio on drums and Randy McStine on guitar and vocals. We’ll never know, I guess.”

 You can check out “Western Atomosphere here:

https://frost-band.lnk.to/WesternAtmosphere-Single

“It’s actually a continuation from Day and Age” explains Godfrey, “the first track on the new album starts with the end of the last track from that album “Repeat to Fade,” where the static comes up and a voice says “Can you hear me?”. I remember putting that in when we did Day and Age as a possible little hook for the future; a character somewhere out there in Day and Age land trying to be heard. What does he want to say? Can anybody hear him? Day and Age kind of sets up the world that this character lives in and Life In The Wires tells his story”.

The story revolves around the main character Naio, an aimless kid heading for a meaningless future in an A.I. run world. He hears an old DJ talking on the ancient AM radio his mother once gave him and decides to trace the source of the signal and find “Livewire” to see if there’s a better future out there. However, the All Seeing Eye is less than impressed at this bid for independent thought and fights back. Soon Naio finds himself pursued across the country by an outraged mob as he tries to locate the home of Livewire and his freedom. Tune in at www.lifeinthewires.com and see if you can hear Livewire on the radio.

Helping create this parallel world are the “classic” Frost* lineup of guitarist John Mitchell, bassist Nathan King, and returning drummer Craig Blundell.

Fans of the band’s masterful debut album Milliontown (2006) will enjoy the band revisiting the style that made that debut album one of the most successful prog rock albums of the last 20 years, a fact that was not lost on Godfrey as he was writing this new record.

“With Day and Age, we made it a very specific point: we’re not doing any solos, we’ll do clever arrangements. And we enjoyed that discipline, but this time I thought it might be good to row back on that position a bit. Plus, I wanted to have a little bit of a nod to Milliontown with this album, because it’s been nearly 20 years since Milliontown came out and I’m still proud of it. The 15-minute title track has a few of those Milliontown moments in it which were great fun to do again.”

Frost* released their critically acclaimed double concept album ‘Life In The Wires’ last October.  The album received rave reviews from press and fans alike, ending up on many end-of-year Best-Of lists and winning Album of the Year in The Prog Report Awards.  

Stream or purchase ‘Life in the Wires’ here: 

https://frost-band.lnk.to/LifeInTheWires

Review – The Windmill – Mindscapes – by John Wenlock-Smith

If, like me, you enjoy symphonic prog, then you will find much to enjoy in this shorter album from Norway’s The Windmill. With definite touches and traces of Wish You Were Here in the long first track Fear, ‘Mindscapes’ has as good an opening segment as I’ve heard on many an album. This release also contains three shorter tracks, all of which show a different facet of the band

The vocalist Erik Borgen has a wonderful, if somewhat unusual voice, it reminds me in places of Roine Stolt of The Flower Kings. Also memorable here is the saxophone of Morton L. Clason which adds something of great depth to all the keyboards and clout of the rest of the band. Fear has a great soundscape and some dynamic passages, along with a great organ solo. It’s also, despite being nearly twenty-three minutes in length, a very endearing track with lots happening during its duration. In fact, the more I’ve heard it the better it gets for me, as it reveals deeper, hidden complexities which, when all taken together, forms a most impressive piece. The song  is in three distinct sections, Fear, Back Against The Wall and Amnesia, the middle section has a great urgency and wonderful interplay between the flute and the rest of the band, it also benefits from a strong chorus and refrain.

I really like this track, it has grown on me considerably as I have become more familiar with it. A good guitar break helps move the track along before an extended keyboard solo is introduced to the proceedings. Thereafter a flute solo plays as the songs moves into its second section and this is a well orchestrated part with good keyboards and more flute stylings, all of which add to the overall feel and impression the track is seeking to create. And create it well it does too, as this song really does make a favourable impression and impact.

Calton Hill is a tribute to the band’s good friend Brian McNeil who was based in, or certainly very well acquainted with, the city of Edinburgh. The song is about walking around the city and the delights of Calton Hill which offers a good view of the city and is adorned with monuments and is a very pleasant area to explore. I know, I did it over 30 years ago and long to revisit once again. The shorter  and more delicate sounding I Still Care seems to be about a loved one who is not around any more but, even so, he still cares about her. It’s a wistful rather than cloying song, it is very tender and heartfelt though. The final track Nothing In Return is a bit of a different beast though, as it has a heavier sound with a degree of crunching guitar, almost like Grunge Prog! The presence of the flute is clearly heard and felt and this actually really works with this song because the contrast with the guitar is distinct and the flute brings a degree of lightness to proceedings. A wild synth solo is played with increasing urgency and power which makes an definite impact. The track then heads out in a romping/rollicking section, all synths and guitar riffs in tandem and unison. The impressively solid bass of Arnfinn Isaksen is felt here and his weight adds much to the dynamics at play here. This song may be brief but it is certainly powerful and impactful.

‘Mindscapes’ may be relatively short for an album of this genre but it is definitely a triumphant one for The Windmill, coming six years after their ‘Tribus’ release of 2018 and shows this fine Norwegian outfit have much to offer still. I heartily recommend this for its versatile musicianship and its complex layers and soundscapes, it’s a very enjoyable listen indeed.

Released 1st July, 2024.

Order from bandcamp here:

https://thewindmillnorway.bandcamp.com/album/mindscapes